The asian or hindustani music is totaly on rules and raagas, the start
of the music notes are sergam,, which has seven notes. sa re ga ma pa dha ni sa, the natural notes are taken from Raag Bilawal,
that all the notes are ntaural.

Thaat,, is the family of ten importent raags, there are many other raags
that comes or belongs to the one of the raags from the thaat.

there are 40 rules to understand the raags, when singin or playing the
raag you should know all the 40 rules of the raags which we have mentioned in this site.

Timeing,, Every raags has a fixed time to play or sing which is more
importeent in classical raags.

PAGE 01

THE BASIC NOTES

THE
SEVEN NATURAL NOTES OF THE EASTERN AND WESTERN MUSIC

{AROHA}

SA , RE, GA,
MA, PA, DA, NI, SA

{VAROHA}

SA, NI, DA,
PA, MA, GA, RE, SA

WESTERN NOTES

{SCENDING}

DO, RE, MI,
FA, SO, LA, TI, DO

{ESCENDING}

DO, TI, LA,
SO, FA, RE, MI, DO

Sa Re
Ga Ma Pa Dha Ni Sa

THIS IS THE
NATURAL NOTES OF RAAG BILAWAL.

RAAGS

VADI: Any notes can be tracedor been used mostly that’s vadi.

SAMVADI: Notes that been used less than vadi but more than other notes, call samvadi, in raag Malayan the notes ga is vadi and
the note ni is samvadi

PAKAD:identify the raags easily,, every raags has different pakad.

CHALAN:The movement of the raag and the start if the raag.

RASA: Rasa is the moods and the color of the raags, every raags has different moods and rasa, you can simply identify the
rasa like happy sad love devotions and light rasa, so these are the different rasa in raags.

PAGE 02

SHUDDHA SAWAR

THE NAMES AND
THE DEFINATIONS OF THE NOTES.

In any given seven-tone mode, the second, third,
sixth, and seventh notes can be natural (shuddha, lit. 'pure') or flat (komal, 'soft') but never sharped, and the fourth note can be natural
or sharp (tivra) but never flatted